Production Studies, The Sequel! is an exciting exploration of the experiences of media workers in local, global, and digital communities—from prop-masters in Germany, Chinese film auteurs, producers of children’s television in Qatar, Italian radio broadcasters, filmmakers in Ethiopia and Nigeria, to seemingly-autonomous Twitterbots. Case studies examine international production cultures across five continents and incorporate a range of media, including film, television, music, social media, promotional media, video games, publishing and public broadcasting.
Using the lens of cultural studies to examine media production, Production Studies, The Sequel! takes into account transnational production flows and places production studies in conversation with other major areas of media scholarship including audience studies, media industries, and media history. A follow-up to the successful Production Studies, this collection highlights new and important research in the field, and promises to generate continued discussion about the past, present, and future of production studies.
Table of Contents
I. Tools of the Trade
1. Chris Peterson, "I Like My Bots Like I Like My People: Weird, Mixed, Always Acting"
2. Mary Desjardins, "Performance, Labor, and Stardom in the Era of the Synthespian"
3. Patrick Vonderau, "How Global is Hollywood? Division of Labor from a Prop-Making Perspective"
II. Being the Brand
4. Nina Huntemann, "Working the Booth: Promotional Models and the Value of Affective Labor"
5. Catherine Johnson and Paul Grainge, "From Broadcast Design to ‘On-Brand TV’: Repositioning Expertise in the Promotional Screen Industries"
6. Kristin J. Lieb, "Pop Stars Perform ‘Gay’ for The Male Gaze: The Production of Fauxmosexuality in Female Popular Music Performances and Its Representational Implications"
III. Production Pedagogies
7. Eva Novrup Redvall, "Craft, creativity, collaboration, and connections: Educating talent for Danish television drama series"
8. Jonathan Corpus Ong, "Charity Appeals as ‘Poverty Porn’? Production Ethics in Representing Suffering Children and Typhoon Haiyan Beneficiaries in the Philippines"
9. Eva Pjajčíková and Petr Szczepanik, “Group Writing for Post-Socialist Television”
IV. Putting the Public Back in Public Service
10. James Bennett, "Public Service as Production Cultures: A Contingent, Conjunctural Compact"
11. Tiziano Bonini and Alessandro Gandini, "Invisible workers in an Invisible Medium: An Ethnographic Approach to Italian Public and Private Freelance Radio Producers"
12. Anna Zoellner, "Detachment, Pride, Critique: Professional Identity in Independent Factual Television Production in Great Britain and Germany"
13. Mary Elizabeth Luka, "CBC ArtSpots and the Activation of Creative Citizenship"
V. Transnational Circuits
14. Alessandro Jedlowski, "Avenues of Participation and Strategies of Control: Video Film Production and Social Mobility in Ethiopia and Southern Nigeria"
15. Dennis Lo, "From Experiencing Life to Life Experiences: Location Shooting Practices in Chinese and Taiwanese New Wave Cinemas"
16. John Vanderhoef and Michael Curtin, "The Crunch Heard Round the World: The Global Era of Digital Game Labor"
VI. Redefining the Industry
17. Nicholas Boston and Brooke Erin Duffy, "What Actually Matters: Identity, Individualization, and Aspiration in the Work of Glossy Magazine Production"
18. Alisa Perren, "The Trick of the Trades: Media Industry Studies and the American Comic Book Industry"
19. Naomi Sakr and Jeanette Steemers, "Co-Producing Content for Pan-Arab Children’s TV: State, Business and the Workplace"
20. Deborah L. Jaramillo, "Keep Big Government out of your Television Set: The Rhetoric of Self-Regulation Before the Television Code"
Miranda Banks is Assistant Professor of Visual and Media Arts at Emerson College and a research fellow in the Emerson Engagement Lab. She is author of The Writers: A History of American Screenwriters and Their Guild and co-editor of Production Studies: Cultural Studies of Media Industries.
Bridget Conor is a lecturer in the Centre for Culture, Media and Creative Industries at King's College London. She is the author of Screenwriting: Creative Labour and Professional Practice and the co-editor, with Rosalind Gill and Stephanie Taylor, of Gender and Creative Labour.
Vicki Mayer is Professor of Communication at Tulane University. She has published widely on media production and producers, and is the author of Below the Line: Producers and Production Studies in the New Television Economy and Producing Dreams, Consuming Youth: Mexican Americans and Mass Media.
"Banks, Conor, and Mayer have delivered one of the rare sequels that surpasses the vision of the original. This collection brilliantly details developments in production cultures across an impressive range of media industries, publics, and global contexts. In the process, it offers a host of inspired views into the material conditions and cultural dimensions of media production."
—Jennifer Holt, University of California, Santa Barbara